Special Price €1200.00

Watercolor on 100% acid-free cotton paper
Year: 2015
Measures 35x50 cms

Gods of two species protect the city of Leandra. Both are too tiny to be seen and too numerous to be counted. One species stands at the doors of the houses, inside, next to the coatrack and the umbrella stand; in moves, they follow the families and install themselves in the new home at the consignment of the keys. The others stay in the kitchen, hiding by preference under pots or in the chimney flue or in the broom closet: they belong to the house and when the family that has lived there goes away, they remain with the new tenants; perhaps they were already there before the house existed, among the weeds of the vacant lot, concealed in a rusty can; if the house is torn down and a huge block of fifty families is built in its place, they will be found, multiplied, in the kitchens of that many apartments. To distinguish the two species we will call the first one Penates and the second Lares.

Within a given house, Lares do not necessarily stay with Lares, and Penates with Penates: they visit one another, they stroll together on the stucco cornices, on the radiator pipes; they comment on family events; not infrequently they quarrel; but they can also get along peacefully for years -- seeing them all in a row, you are unable to tell them apart. The Lares have seen Penates of the most varied origins and customs pass through their walls; the Penates have to make a place for themselves, rubbing elbows with Lares of illustrious, but decaying palaces, full of hauteur, or with Lares from tin shacks, susceptible and distrustful.

The true essence of Leandra is the subject of endless debate. The Penates believe they are the city's soul, even if they arrived last year; and they believe they take Leandra with them when they emigrate. The Lares consider the Penates temporary guests, importunate, intrusive; the real Leandra is theirs, which gives form to all it contains, the Leandra that was there before all these upstarts arrived and that will remain when all have gone away.

The two species have this in common: whatever happens in the family and in the city, they always criticize. The Penates bring out the old people, the great-grandparents, the great-aunts, the family of the past; the Lares talk about the environment before it was ruined. But this does not mean they live only on memories: they daydream of the careers the children will follow when they grow up (the Penates), or what this house in this neighborhood might become (the Lares) if it were in good hands. If you listen carefully, especially at night, you can hear them in the houses of Leandra, murmuring steadily, interrupting one another, huffing, bantering, amid ironic, stifled laughter.

My interpretation of the city of Leandra: The central housing in my image is a Tulou, an earthen construction of Fujian Province in southeastern China, a traditional home built by the Hakka people who migrated to this region in the 14th and 15th centuries. The city surrounding the Tulou provides the frame to support Calvino's story